Rockfest 2005 - Brazil: If you can get your ass down south, come party with the underground!
Rockfest 2005 in Brazil
http://www.fotolog.net/moshrockfest
27.4.05
11.4.05
These reviews will appear in Electroid webzine out May 2005
http://undergroundrecords.org/electroid/
Faetal - '[sic]'
Electronica with a smattering of guitars, plenty of samples, feedback and the oblique anglish vocalist who is multiple parts of many electro-industrial singers. The higher BPM numbers here are generally lacking, though when the tempo slows and the groove is more apparent (21) at least the music is somewhat enjoyable. Vocalist Pete Boyd is close to a'la Rotten circa PIL era, yet Boyd needs to draw a bit more blood, his delivery being hinged onto melancholic phrasing. The sound engineering and production overall of this album (produced by the more-than-able Justin Calloway) keeps the Wasp Factory label known for strong sounding product. For the UK, Faetal probably feel at home, abroad, especially in the US, they'll need a more definitive sound, not to mention some hit singles material, to bring it together. Contact: Wasp Factory Recordings, http://www.wasp-factory.com, enquiries@wasp-factory.com,
+44(0)1242521713
Charlotte Summer - Bizarre Love Triangle
Charlotte has done a decent job presenting herself as a dancefloor pop star. The flat vocals and lackluster production don't help her out much though, though I will
give her points for trying to layer things for some fullness in the vocals, regardless if the finished work sounds.......unfinished. One could hear a protege of Prince, circa 1985, and this dating does not help as much as you'd might expect demographic wise. Charlotte has a few above-par songs, "Cage" is an "early in the evening" dance floor spin, really the closest thing on this album to a single and a pretty good one at that; yet why she would do something like a remake of the Cure's "Just Like Heaven", in a monotone, karaoke kinda way, ahhhh, you're guess is as good as mine. Miss Summer's image and presentation are ok, now we need to work a bit on the tunes. Contact: http://www.charlottesummer.net
The Invincible Sex - split ep by The Fair Sex & The Invincible Spirit
Love it when I get cd's with nothing written on either side and no label whatsoever, both sides blank (don't even get me into the new ones I've seen that were clear
almost). I almost always first time put in the wrong side. When you get a split like this though, it's worth it to turn it over, as this will surely be a collector's item. Seven big beat euro-industrial skull rattlers, nothing too overpowering, just nice donations from both these underground superstars. Tops for contributions goes to the very trademarked sound of The Fair Sex's "The Naked And The Dead" with it's combo melodic dark electro goth deep and nasty throughout. It is but the setup for the prussian craftmanship of The Invincible Sex's "Red Glow Horizon" which follows. The majestic synth line and just enough warbling vocal wise make for a classic dub candidate. A heavy industrial version of this song is being called for, let us pray. While there isn't alot of new ground being broken anywhere on this split, and just a tad reload from either band's by now extensive libraries, industrial cornerstones like "Alphasex" from The Invincible Spirit show while the collaborative numbers (herein known as "The Invincible Sex") work, it is the seperate work of these two artist that contribute to the overall greatness. Turn this motherfucker up and zone baby, zone. Contact: http://www.thefairsex.de, http://www.theinvincible-spirit.de, http://www.endless-records.de
To have your music reviewed, sent kits to:
Underground Reviews
6422 Hwy 140 NW
Adairsville, GA 30103
USA
http://undergroundrecords.org/electroid/
Faetal - '[sic]'
Electronica with a smattering of guitars, plenty of samples, feedback and the oblique anglish vocalist who is multiple parts of many electro-industrial singers. The higher BPM numbers here are generally lacking, though when the tempo slows and the groove is more apparent (21) at least the music is somewhat enjoyable. Vocalist Pete Boyd is close to a'la Rotten circa PIL era, yet Boyd needs to draw a bit more blood, his delivery being hinged onto melancholic phrasing. The sound engineering and production overall of this album (produced by the more-than-able Justin Calloway) keeps the Wasp Factory label known for strong sounding product. For the UK, Faetal probably feel at home, abroad, especially in the US, they'll need a more definitive sound, not to mention some hit singles material, to bring it together. Contact: Wasp Factory Recordings, http://www.wasp-factory.com, enquiries@wasp-factory.com,
+44(0)1242521713
Charlotte Summer - Bizarre Love Triangle
Charlotte has done a decent job presenting herself as a dancefloor pop star. The flat vocals and lackluster production don't help her out much though, though I will
give her points for trying to layer things for some fullness in the vocals, regardless if the finished work sounds.......unfinished. One could hear a protege of Prince, circa 1985, and this dating does not help as much as you'd might expect demographic wise. Charlotte has a few above-par songs, "Cage" is an "early in the evening" dance floor spin, really the closest thing on this album to a single and a pretty good one at that; yet why she would do something like a remake of the Cure's "Just Like Heaven", in a monotone, karaoke kinda way, ahhhh, you're guess is as good as mine. Miss Summer's image and presentation are ok, now we need to work a bit on the tunes. Contact: http://www.charlottesummer.net
The Invincible Sex - split ep by The Fair Sex & The Invincible Spirit
Love it when I get cd's with nothing written on either side and no label whatsoever, both sides blank (don't even get me into the new ones I've seen that were clear
almost). I almost always first time put in the wrong side. When you get a split like this though, it's worth it to turn it over, as this will surely be a collector's item. Seven big beat euro-industrial skull rattlers, nothing too overpowering, just nice donations from both these underground superstars. Tops for contributions goes to the very trademarked sound of The Fair Sex's "The Naked And The Dead" with it's combo melodic dark electro goth deep and nasty throughout. It is but the setup for the prussian craftmanship of The Invincible Sex's "Red Glow Horizon" which follows. The majestic synth line and just enough warbling vocal wise make for a classic dub candidate. A heavy industrial version of this song is being called for, let us pray. While there isn't alot of new ground being broken anywhere on this split, and just a tad reload from either band's by now extensive libraries, industrial cornerstones like "Alphasex" from The Invincible Spirit show while the collaborative numbers (herein known as "The Invincible Sex") work, it is the seperate work of these two artist that contribute to the overall greatness. Turn this motherfucker up and zone baby, zone. Contact: http://www.thefairsex.de, http://www.theinvincible-spirit.de, http://www.endless-records.de
To have your music reviewed, sent kits to:
Underground Reviews
6422 Hwy 140 NW
Adairsville, GA 30103
USA
These reviews will appear in the first issue of JAMBONE, out in April 2005
http://undergroundrecords.org/jambone/
Way Station - s/t
Funky jazz fusion from the cats layin' it down on Big Bear Theory.
Precise slaps-n-daps, screaming lead guitars, tasty sax and big beat boogie woogie prevail throughout this killer eleven tune set. The mix has a big music venue kinda feel, wide hall reverb on the precussion, while most of the other instruments stay home in the monitors. As they kick things off with "Carnival Ride", feets hit da floor and it's a sure bet on the money folks will keep the dance floor jumpin' as this crack band made up of Barry Bernhardt on guitars, Frank Catalano on sax, Greg Geary on bass and Tim Bennet's fine drumming crank it out in fine form. On "Psycho Surf" Catalano's sax remind you how great be-bop can truly be, as his backing band shifts from sparse crackles to highway burnin' power fusion. You can almost visualize a grainy black and white film and the rat packers heading to Malibu on the pacific coast highway for the never ending nitecap. Way Station get a bit held down when they slide into the standard jazz side of things, and even though this form is daper, nothing like the heart firing pulse of their tight neo-fusion (a'la the gear grinding "All Through The Night"). Stay with this, and these cats are one everlasting party on high. Contact: Big Bear Theory
Mozart Street - s/t
Some of the finest sax playing I've heard in a while by Toby Veach.
Barry Bernhardt is back proving he is the kind of electric fusion. Opener "The Rolling Sky" shows you what these cats can do, there is tight jamming throughout, reminding me of some fo the best Jeff Beck. All around there is the jazz and funk provided by Mark Montgomery's ball slapping lead basslines
and monster percussion from Dean Pizzato. This group is a potent unit
as they rip ass on tunes like "Walkdown", while goes from scream to stream on a dime.
"Snake Shake" stars with a blues boogie then slides into groovin' funk fed running jam, with Veach the man on the outer edge together with Montgomery taking most of the leads. It's tasty, like fine gumbo. Mozart Street is like a concert hall filled with lunatic ringmasters each hawking their wares. What the best jazz fusion should be. No sleepy romantic twaddle here. On "Comfusion Says"
the band does a great job of mixing jazz and hard rock, ending riffin
as the soul slink of "Vampire Ire" slides in and Veach gets busy with mucho lead sax as the tour into the french quarter rolls on. Contact: Big Bear Theory http://www.bigbeartheory.com
Sunshine Apparatus - Grade scool Play ground Swing set Fairy-tale
Spatial blend of roots, americana, coffee shop and experimental sound
sculpting. First part of the album presents a neo-folk setting for a rich blend of acoustic and electronic instrumentation. The later half of the album slides into instrumental soundscapes with strong ambient qualities. You'd expect a song titled "Sleepy" to be ambient, yet it borders on countrified lite jazz, and where the wild drums came from, I don't know. Lots of guitar on this album, and that is took the artist a while composing these songs shows, as you get a wide berth of diversified styles. Should be a nice set on the upcoming tour.
Contact: A-attack Records, 4011 Black Creek Ct., http://www.geocities.com/a-attack,
aattack1@hotmail.com
Dave Halverson - Fragments Of What
Haha, great title man! Quite an eclectic atmospheric set here, from
dreamin' "Constellation M", to some on the border jazz-electro "Omicron". In fact, the whole album is borderline, each song sounds comprised of varied genre, and give Dave Halverson credit, he somehow makes the thing work. Farmers In The Spirit Field begins as a sparse landscape then cooks some guitar for the ending entre. There is some quirkiness here, as evidenced on the circus-go-round organ of "The Fair", you feel like you're are the fair, maybe with some nice shrooms. I'll give Dave credit again, his composing can do a little evocation, which is always nice. The dark river in Egypt feel of "To Die No More" is creepy enough to be cool, perfect motion picture music. Contact: Dave Halverson POB 20711, Oakland, CA 94620,
510-985-6477, tlucid@hotmail.com, http://www.davehalverson.com
The Rosette Guitar Duo - s/t
Lyngstad & Marsh are the kings of counterpoint, a skill unbeknown to many modern pickers not just because it takes a duo or better to happen, but it's based in
theory, and well, alot of players never studied the stuff, though in my days as a classical guitar major, I worked alot with harmonic couterpoint, usually as a duet, but not at the level these cats can play. The Rosette Guitar Duo make beautiful guitar music; dual melodies, strong time discipline. Stuff for when it'time to dream a little. Contact: http://www.rosetteguitar.com,
contactus@rosetteguitar.com, 780-886-6160 or 780-905-4361
The Rick Ray Band- Out Of The Mist Of Obscurity
One of the hardest working guitarists in showbiz, Ray's familiar tower tone and original rave ups make him instantly recognizable. You have to give the jamhound
credit, since 1999 he has recorded over 30 albums, and that's a feat man! If you live smooth, bluesy shredding guitar, The Rick Ray Bnad is the stuff to put on. He and songwriting/ vocal partner Phil Noch fill about half this album with their collaborations, firing things off with the scortching "Why did I
know", going from laid back groove to sizzling hammering lead in a five
minute jam span. The titel cut is also a creeper, and psychotic to match! Few songs contain so much, then end in space, beyond simple musical mathematics. Component brass man Gary Wood (no pun intended) adds a smoothing horn to some of Ray's guitar workouts, playing off alter ego Rick Schultz's wilder edge via clarinet (believe me, it sounds killer). It's almost if you have a bit of symphony in there. It's cool man, you gotta dig the Rick Man Band.
Contact: Neurosis Records, 20301 Ball Ave, Euclid, OH 44123,
http://groups.msn.com/guitaristrickray
hobbelshnimp@hotmail.com
http://undergroundrecords.org/jambone/
Way Station - s/t
Funky jazz fusion from the cats layin' it down on Big Bear Theory.
Precise slaps-n-daps, screaming lead guitars, tasty sax and big beat boogie woogie prevail throughout this killer eleven tune set. The mix has a big music venue kinda feel, wide hall reverb on the precussion, while most of the other instruments stay home in the monitors. As they kick things off with "Carnival Ride", feets hit da floor and it's a sure bet on the money folks will keep the dance floor jumpin' as this crack band made up of Barry Bernhardt on guitars, Frank Catalano on sax, Greg Geary on bass and Tim Bennet's fine drumming crank it out in fine form. On "Psycho Surf" Catalano's sax remind you how great be-bop can truly be, as his backing band shifts from sparse crackles to highway burnin' power fusion. You can almost visualize a grainy black and white film and the rat packers heading to Malibu on the pacific coast highway for the never ending nitecap. Way Station get a bit held down when they slide into the standard jazz side of things, and even though this form is daper, nothing like the heart firing pulse of their tight neo-fusion (a'la the gear grinding "All Through The Night"). Stay with this, and these cats are one everlasting party on high. Contact: Big Bear Theory
Mozart Street - s/t
Some of the finest sax playing I've heard in a while by Toby Veach.
Barry Bernhardt is back proving he is the kind of electric fusion. Opener "The Rolling Sky" shows you what these cats can do, there is tight jamming throughout, reminding me of some fo the best Jeff Beck. All around there is the jazz and funk provided by Mark Montgomery's ball slapping lead basslines
and monster percussion from Dean Pizzato. This group is a potent unit
as they rip ass on tunes like "Walkdown", while goes from scream to stream on a dime.
"Snake Shake" stars with a blues boogie then slides into groovin' funk fed running jam, with Veach the man on the outer edge together with Montgomery taking most of the leads. It's tasty, like fine gumbo. Mozart Street is like a concert hall filled with lunatic ringmasters each hawking their wares. What the best jazz fusion should be. No sleepy romantic twaddle here. On "Comfusion Says"
the band does a great job of mixing jazz and hard rock, ending riffin
as the soul slink of "Vampire Ire" slides in and Veach gets busy with mucho lead sax as the tour into the french quarter rolls on. Contact: Big Bear Theory http://www.bigbeartheory.com
Sunshine Apparatus - Grade scool Play ground Swing set Fairy-tale
Spatial blend of roots, americana, coffee shop and experimental sound
sculpting. First part of the album presents a neo-folk setting for a rich blend of acoustic and electronic instrumentation. The later half of the album slides into instrumental soundscapes with strong ambient qualities. You'd expect a song titled "Sleepy" to be ambient, yet it borders on countrified lite jazz, and where the wild drums came from, I don't know. Lots of guitar on this album, and that is took the artist a while composing these songs shows, as you get a wide berth of diversified styles. Should be a nice set on the upcoming tour.
Contact: A-attack Records, 4011 Black Creek Ct., http://www.geocities.com/a-attack,
aattack1@hotmail.com
Dave Halverson - Fragments Of What
Haha, great title man! Quite an eclectic atmospheric set here, from
dreamin' "Constellation M", to some on the border jazz-electro "Omicron". In fact, the whole album is borderline, each song sounds comprised of varied genre, and give Dave Halverson credit, he somehow makes the thing work. Farmers In The Spirit Field begins as a sparse landscape then cooks some guitar for the ending entre. There is some quirkiness here, as evidenced on the circus-go-round organ of "The Fair", you feel like you're are the fair, maybe with some nice shrooms. I'll give Dave credit again, his composing can do a little evocation, which is always nice. The dark river in Egypt feel of "To Die No More" is creepy enough to be cool, perfect motion picture music. Contact: Dave Halverson POB 20711, Oakland, CA 94620,
510-985-6477, tlucid@hotmail.com, http://www.davehalverson.com
The Rosette Guitar Duo - s/t
Lyngstad & Marsh are the kings of counterpoint, a skill unbeknown to many modern pickers not just because it takes a duo or better to happen, but it's based in
theory, and well, alot of players never studied the stuff, though in my days as a classical guitar major, I worked alot with harmonic couterpoint, usually as a duet, but not at the level these cats can play. The Rosette Guitar Duo make beautiful guitar music; dual melodies, strong time discipline. Stuff for when it'time to dream a little. Contact: http://www.rosetteguitar.com,
contactus@rosetteguitar.com, 780-886-6160 or 780-905-4361
The Rick Ray Band- Out Of The Mist Of Obscurity
One of the hardest working guitarists in showbiz, Ray's familiar tower tone and original rave ups make him instantly recognizable. You have to give the jamhound
credit, since 1999 he has recorded over 30 albums, and that's a feat man! If you live smooth, bluesy shredding guitar, The Rick Ray Bnad is the stuff to put on. He and songwriting/ vocal partner Phil Noch fill about half this album with their collaborations, firing things off with the scortching "Why did I
know", going from laid back groove to sizzling hammering lead in a five
minute jam span. The titel cut is also a creeper, and psychotic to match! Few songs contain so much, then end in space, beyond simple musical mathematics. Component brass man Gary Wood (no pun intended) adds a smoothing horn to some of Ray's guitar workouts, playing off alter ego Rick Schultz's wilder edge via clarinet (believe me, it sounds killer). It's almost if you have a bit of symphony in there. It's cool man, you gotta dig the Rick Man Band.
Contact: Neurosis Records, 20301 Ball Ave, Euclid, OH 44123,
http://groups.msn.com/guitaristrickray
hobbelshnimp@hotmail.com
This review will appear in the upcoming Slam, April 2005:
http://undergroundrecordsa.org/slam/
G-Spot - Come Here, Go Away
Gail Silverman comes accross as a modern interpretation of Johnny
Rotten made up in fishnet, wearing heels, on a drunken rock n roll rampage to fuck
shit up. Her band blasts from gutter punk to big riff sing-along pop parody.
Towards the end they even prove they can chill out to a stoned groove. Come Here,
Go Away sets the standard for NY homegrown variety during the 2005 season.
The wait was worth it for a thirteen song set that creates it's own identity
through coloraton of emotion (Over You, Even The Mighty Fall), tears it to
pieces (Revolutionary) suffers agony (Hurts Like This) chills out in the
smoke room (Hey Creator) where the end set for the album is set to introspection
(Believe In Us, Call On You). All this ends with Gail telling us we gotta funk
when the groove is hot (Piece Of....), hit that damn G-Spot, before its Triple
Mantra Meditation time. Contact: gsilverman@nyc.rr.com, http://www.gspotband.com
Revolutionary Records 646-336-0041
http://undergroundrecordsa.org/slam/
G-Spot - Come Here, Go Away
Gail Silverman comes accross as a modern interpretation of Johnny
Rotten made up in fishnet, wearing heels, on a drunken rock n roll rampage to fuck
shit up. Her band blasts from gutter punk to big riff sing-along pop parody.
Towards the end they even prove they can chill out to a stoned groove. Come Here,
Go Away sets the standard for NY homegrown variety during the 2005 season.
The wait was worth it for a thirteen song set that creates it's own identity
through coloraton of emotion (Over You, Even The Mighty Fall), tears it to
pieces (Revolutionary) suffers agony (Hurts Like This) chills out in the
smoke room (Hey Creator) where the end set for the album is set to introspection
(Believe In Us, Call On You). All this ends with Gail telling us we gotta funk
when the groove is hot (Piece Of....), hit that damn G-Spot, before its Triple
Mantra Meditation time. Contact: gsilverman@nyc.rr.com, http://www.gspotband.com
Revolutionary Records 646-336-0041
6.4.05
Arms Of Kismet - Cutting Room Rug
Diverse and creative, Arms Of Kismet are a rich blend of americana, blues, rock, and a tad of everything else. Some of the stuff could be the Traveling Wilburys, or at least Tom Petty at his finest. Above and beyond the minicry though, it's obvious the musicians behind the bands know their tradecraft. Their arrangements are expansive and flowing, a nod to the psychedelia that bubbles underneath Arms Of Kismet. Think Beatles or Cream at a jam. Even some odd pop is allowed, but think god they don't stay that course too long. Best things on Cutting Room Rug are the ones that kick it up a little bit; "Outbound Train" shimmies n shakes while it stomps along to a finger roll boogie that underpins a rising full collaboration of vocals and riff. Scat box blues is the base of "Clover", which giving the scattaco overall and the rotating phase effects, it's kinda like the dead man. Arms Of Kismet do excel where they do the head trip thing, man......haha!
At times, Arms Of Kismet seem to want to throw a wrench into the works; "Auriculara (Listen To Me)" would be a surefire single, except make the drums live and drop about three or four repeats of the subtitle at the end. I'd probably work on the ambience in spots too. Regardless, when you've got songs like "Coil", which are simply things of beauty, all that seems secondary. A Toast! Contact: http://www.armsofkismet.com, http://www.wampus.com
This review will be featured in the next issue of The Sound
Diverse and creative, Arms Of Kismet are a rich blend of americana, blues, rock, and a tad of everything else. Some of the stuff could be the Traveling Wilburys, or at least Tom Petty at his finest. Above and beyond the minicry though, it's obvious the musicians behind the bands know their tradecraft. Their arrangements are expansive and flowing, a nod to the psychedelia that bubbles underneath Arms Of Kismet. Think Beatles or Cream at a jam. Even some odd pop is allowed, but think god they don't stay that course too long. Best things on Cutting Room Rug are the ones that kick it up a little bit; "Outbound Train" shimmies n shakes while it stomps along to a finger roll boogie that underpins a rising full collaboration of vocals and riff. Scat box blues is the base of "Clover", which giving the scattaco overall and the rotating phase effects, it's kinda like the dead man. Arms Of Kismet do excel where they do the head trip thing, man......haha!
At times, Arms Of Kismet seem to want to throw a wrench into the works; "Auriculara (Listen To Me)" would be a surefire single, except make the drums live and drop about three or four repeats of the subtitle at the end. I'd probably work on the ambience in spots too. Regardless, when you've got songs like "Coil", which are simply things of beauty, all that seems secondary. A Toast! Contact: http://www.armsofkismet.com, http://www.wampus.com
This review will be featured in the next issue of The Sound
5.4.05
Irecore - Irecore
13 songs of metal the old school way; powerchords, machine gun riffs, lots of lead guitar and some blast beat thrash to round things out. Irecore definitely owe to the bands of yore, and just to casually listen, this could be something on Metal Blade about 1982. Spotlights include the epic multi part "Admonish" and the neo-classical prelude in "M.OM." which also kicks afterwards with it's monster riff and nod to Seattle grunge metal. It's best when the band ramps up the tempos and slams home the micro-breaks (see "Congress"), or just ride the riff from hell ("Mold"). I'd have to go with "Society" so far as single of the year. Irecore are keeping underground metal real, taking back the streets. Contact: Greg (805) 610-2341, irecoremusic@yahoo.com
13 songs of metal the old school way; powerchords, machine gun riffs, lots of lead guitar and some blast beat thrash to round things out. Irecore definitely owe to the bands of yore, and just to casually listen, this could be something on Metal Blade about 1982. Spotlights include the epic multi part "Admonish" and the neo-classical prelude in "M.OM." which also kicks afterwards with it's monster riff and nod to Seattle grunge metal. It's best when the band ramps up the tempos and slams home the micro-breaks (see "Congress"), or just ride the riff from hell ("Mold"). I'd have to go with "Society" so far as single of the year. Irecore are keeping underground metal real, taking back the streets. Contact: Greg (805) 610-2341, irecoremusic@yahoo.com
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